Album Review – The Used : Vulnerable (2012)

The Used are a band that have always been faithful to their 2002 debut self-titled album with each and every new release, from the most recent ‘Artwork’ to 2007’s hit and miss ‘Lies for the Liars’. Their newest offering, ‘Vulnerable’, attempts to combine some of the raw power from their early career with the more pop elements that have threatened to crawl into their sound over the years. The album arrives on the back of two well-received singles, ‘I Come Alive’ and ‘Hands & Faces’, which helped the album build some considerable hype from old and new fans alike, with promises being made from the band that a whole new approach on the sound of The Used would be explored. Excitement surrounded the four-piece for the first time in a number of years, but unfortunately for them, the latest album arrives with something of a whimper and not the fanfare that was perhaps expected.

‘Vulnerable’ opens with the first single, ‘I Come Alive’, a playful take on the familiar sound of the band with an added chaotic edge (especially in the verses) and the use of dubstep/drum and bass elements (which are used sparingly). It breaks the mould, but not enough for the band to sound unrecognisable, and that’s because the vocals of Bert McCracken are uniquely executed (as they always have been), full of torment and desolation. There’s a bizarre fairground streak throughout the track, which gives it a memorable atmosphere. ‘This Fire’ starts with strings and a softly sung intro, before guitars come in full force, Bert’s yells/aggressive vocals giving this track identity, as much of the rest of it feels lost. The instrumentals don’t do anything exciting, and after the second chorus everything feels disjointed. It doesn’t have the legs to last over 3 minutes, resulting in an ultimately disappointed song.

‘Hands & Faces’ begins on an interesting note, with electro sounds paired with low bass, before finding a happy medium between the band’s old sound and their more mature edge due to song writing experience, which has spanned across their back catalogue. The old school angst is gone and what has replaced isn’t that exciting, which is unfortunate. It’s not as hard-hitting as it needs to be to keep this band relevant, and if they’re not careful (especially after the lukewarm reception to last album ‘Artwork’), they won’t get many more chances. It’s difficult to tell whether this band are simply growing, taking risks that aren’t paying off, or possibly not taking risks at all. ‘Put Me Out’ has a dirty lick to set the scene, before full-capacity guitars and vocals are explored, the infectious side of The Used’s music shining through. Heavy guitars jump along with passion-fuelled vocals, changing sharply from verse to chorus, ending on a breakdown section where the screamed vocals are perfectly executed.

‘Shine’ may be positive and uplifting in places, but there isn’t much substance behind the core of the song. The additional electronic elements fit well, but it just doesn’t excite, and despite the decent melodies on show, it doesn’t stand head and shoulders above the rest, and by now ‘Vulnerable’ needs a track that does that. ‘Now That You’re Dead’ is thankfully the song that does that, beginning with a grimly quiet instrumental that includes low guitar notes and voice samples before switching to a brutal punk behemoth that occasionally veers on modern hardcore metal territory, which is a bit of a shock. The screamed vocals are some of the best I’ve ever heard from Bert, and this was the first track that warranted an instant repeat listen.

‘Give Me Love’ doesn’t carry on the positive vibes, leaving a sour taste as it is utterly forgettable and can’t even be saved by a technically efficient breakdown towards the end of the song. It’s a typical and boring formula, making it feel more like an album filler than a genuinely important track. ‘Moving On’ instantly feels bigger, with a soaring chorus (“It’s safe to say that nothing lasts forever”) providing a slice of The Used that keeps them firmly in the public eye. However, the verses feel bland (much like much of the verse work on this album), following an unadventurous path.

‘Getting Over You’ returns to the passionate, heartbroken lyrics of ‘Artwork’. The Used are great at producing emotive music that aims to provoke feeling and thought which is real ‘heart on it’s sleeve’, a truly refreshing change to much of what is popular in the mainstream. This track is a slow burn, focusing heavily on melody (in a similar way to the standout ballad on ‘Artwork’, ‘Kissing You Goodbye’). Picked guitar, strings and a pulsating drumbeat combine to create a song that coasts along but doesn’t feel sluggish. ‘Kiss It Goodbye’ (sound familiar?) starts with classic nu-metal sounding guitars, kinetic beats and venomous vocals. It’s astounding at times and feeling incredibly unpredictable, building to a head with fist-pumping drums, slipping into to a brief pause before an explosion that brings the track to a close. At the end of the song, an interlude of sorts using layers of Bert’s vocals (beat-box, sung lines) arrives, feeling odd and misplaced, maybe even slightly cringe worthy. It’s certainly not needed.

‘Hurt No More’ disappoints, feeling as though the band have exhausted all avenues of creativity. It struggles to get going and is entirely underwhelming. Final track ‘Together Burning Bright’ is a ballad, bringing the lyrical emotion to the front again. It doesn’t pull off many tricks, but it’s effective at what it does. It’s not dressed up, keeping everything simple with strings, sturdy bass and Bert’s efficient vocals.

Overall, ‘Vulnerable’ is a decent record with several high points, but way too many bland and forgettable moments exist within the parts of the songs that matter. It won’t stand alongside the 2002 debut as a classic, and probably ranks down low with some of the band’s worst releases. Diehard fans of the band may be happy with what is heard here, but those looking in from the outside will be convinced that the flame of The Used is beginning to dim. 

Abum Review - InMe : The Pride (2012)

The reliably brilliant alternative rock band InMe have used the PledgeMusic scheme to release their fifth studio album, ‘The Pride’. A generous donation was made to the Alzheimer’s Society once their target figure was achieved, and the outcome from all the hard work is a fantastic album that proves there is still a place in modern music for bands such as this, who combine a blitz of guitars with passionate and soaring vocals, weaving together songs that many bands would give an arm and a leg just to steal a chorus from.

‘The Pride’ kicks off with ‘Reverie Shores’, a flurry of heavy guitars and thoughtful melodic vocals pacing perfectly, dropping into quiet verses and pushing towards the skies with a sky-high chorus. Accented notes of pure melody and a progressive direction give the song an edge, especially with the smooth vocals from frontman Dave McPherson as he sings such heartfelt lyrics as “I used to feel invincible.” A sweeping guitar solo comes in towards the end of what is essentially a very well crafted opening track. ‘Moonlit Seabed’ has steady beats, another riffing intro along with pounding bass. Guitars drive the verses and they build towards another enriching chorus. A crazed techno breakdown arrives halfway through the song, but it doesn’t feel out of place (no matter how insane it seems). Chugs and slap bass return to the meat of the song (which is fundamentally a love song) before revisiting the techno breakdown one final time.

Furious drums introduce ‘A Great Man’, the song exploding into a stop-start burst of guitars, quiet parts again paired with a big chorus (it’s clear now that these boys haven’t lost their touch when it comes to writing a hook). Celebratory vocals are instantly memorable (with McPherson’s Brit twang) as the melodic streak of the song takes centrestage, providing a catchy track. ‘Silver Womb’ has a mysterious and magical intro (the metal element of InMe seeming to take a back seat) although guitars howl once the main riff swoops in. The band really mean business with this album, that is clear.

‘Pantheon’ pushes the tempo, combining excellent guitar work with effortless melody, continuing the streak of fresh and exciting songs. This is the best of the lot so far, the lyrics and melodies so powerful and the electro beats adding a modern twist. ‘Escape to Mysteriopa’ is everything as mysterious as it sounds. It’s a tortured slow burn, with despairing vocals and understated instrumentals (including picked guitar and an undercurrent of percussion). A wonderful solo drops in towards the end of the track before a final bellowed chorus provide a real ‘hair pricking up on the back of the neck’ moment.

‘Guardian’ has accented electro sounds, more heavy guitars and a distinct change in pace to the last track. It’s gutsy and ambitious, rarely pausing for breath as it builds to an epic conclusion. ‘Beautiful Sky Gardens’ carries this momentum with tight instrumentals and excellent vocals. The uplifting feeling that is common throughout the album is at its peak here, with much of the song appearing more intense as the seconds tick on. ‘Halcyon Genesis’ is heavy yet melodic (as all of the album is) but is unfortunately quite forgettable in comparison to much of the quality on ‘The Pride’. The melodies don’t quite hit the mark and the execution isn’t as excellent as anything that has come before it. ‘Legacy’ is a great way to end the album, the ride drawing to a close on a high note, the band’s metal edge more evident that before. Additional strings, tight drums and a climactic end leaves you longing for a return visit and a sudden urge to revisit much of InMe’s back catalogue.

‘The Pride’ is another fine release from a band that show no signs of slowing up their pursuit for what they definitely deserve, a real crack at the big time. It’s on its way, if this album is anything to go by, and I look forward to their time coming. ‘The Pride’ is a truly top album from a truly top British band.

Album Review - GRICE : Propeller (2012)

The debut solo album from GRICE is an interesting release for me to review, the man behind it being an influence and mentor when I started my adventures in music 9 long years ago with a college music project, COBRA (City of Bristol Rising Artists). If it wasn’t for him, I would perhaps not be screaming my head off on stage every few weeks or so, which makes ‘Propeller’ something of a monumental listen for me.

The album is described as a ‘challenging cocktail of electro-acoustic glitch, art-rock and avant-pop synthesis’ and it’s just that, but so much more. The group of songs presented here are accomplished flashes of excellent song writing paired with the highest quality musicianship, which makes for a truly enriching listening experience. The production values are superb and the songs continue to intrigue with the constant introductions of new instruments, all the while providing an elaborate backdrop for GRICE’s vocals.

‘Patiently’ starts with whimsical picked guitar, dancing piano keys and a howling trumpet. The sound created is aggressively original, the opening track coasting along at a dreamlike pace. ‘Let It Go’ is thoughtful and spiritual, the lyrics striking a chord with the human condition (“Can you tell me who to be?”), taking the listener on a provoking five minute journey. A tapestry of strings swells, GRICE’s unique soft vocals gliding alongside them. The track is easy listening at its best, flowing along like a gentle tide; every element heard being performed with great attention to detail.

‘Slowdive’ has macabre guitar notes, a pulsating drum beat and illuminative instrumentals (including a flute and various synthesizers). The vocals continue to be smooth and light, lifting the song into the air and playing with accents of world music (Africa especially). ‘Highly Strung’ has a similar sound, yet includes a slightly more intense edge. The guitars are electric and the bass line often strays into funk territory. The chorus builds with distorted chords, all elements exploding as vocals soar with the song’s hook (“You’re highly strung”). After several times through the motions, a solo fades in before the track draws to a close.

A brief interlude arrives with ‘214 Squadron’ with rumbling engine sound effects, overhead planes and the crackling of a radio signal. The second act of the album begins with ‘Propeller’, the title track of the album and no doubt the centrepiece of the release. Minimal instruments (quiet guitars, hushed piano keys) and almost spoken lyrics create a sombre atmosphere. It’s a folk song at its core, delicately weaving magic and delivering positive feelings. ‘Propeller (Coda)’ follows with echo-laden percussion, synth strings and various sound effects, creating a bizarre and unnerving follow-up to the title track.

‘Lost & Found (006.5)’ channels jazz with jangling keys, soft trumpet and understated beats. It builds and falls, the quietest of journeys so far on this eclectic and ambitious album. Saxophone soon takes over, dancing along the same melodies as the keys. Funk/jazz and lounge music can be heard, along with the glam edge of such classic artists as David Bowie and T-Rex. The smooth tones carry on with ‘Broken Arrow’, trumpets setting the scene and acoustic guitars painting the landscape. Jazz ambience is revisited and bright sounds suggest an interesting folklore.

‘Propeller (Overture)’ is another interlude in the proceedings, a saxophone/piano combination that feels like a 80s power ballad. ‘Summer Screams’ includes another touch of the macabre with wailing strings, despairing vocals and a delightful use of melodic harmonies. ‘The Cage’ is melancholic and jaunty, another folk track with acoustic guitar that sings almost as loudly as the passion filled vocals. Cowboy guitar pulls the track into a county and western sound at times, which is a nice touch. Album closer ‘Propeller (Reprise)’ is another instrumental track, organ synths providing mysterious sounds, which is an enchanting way to finish the album.

GRICE’s ‘Propeller’ is a considerate and sophisticated album, containing the musical expertise of many experienced musicians, which propels this group of songs to otherworldly heights. For me, the band ‘Porcupine Tree’ can be heard in patches, which is a great band to have any comparisons to, the progressive sound GRICE commands being something that is remarkable.

                      

The album is out now, released by Hungersleep Records and available from online store, Burning Shed.


www.gricemusic.co.uk
www.hungersleepproductions.com
www.burningshed.com/store/

EP Review - Hello Lazarus : Hello Lazarus (2012)

Bristol’s own Hello Lazarus have been surfing a wave of hype since the release of their debut mini-album ‘All Alliteration’. Gigging tirelessly and working hard has certainly paid off for the alternative rock trio as Scylla Records signed them up, released their new self-titled EP and sent the band out on a national tour to support the record. The release brings together four wonderfully crafted rock songs that span the last 20 years of popular British guitar music, descending the mountain of Brit-pop and exploring grunge, indie and punk.

Hello Lazarus introduce the EP with opener ‘Adore Implore’, and there couldn’t be a better start to the proceedings. A couple of gutsy chords chime in, followed by a progressive and off-timed rock riff, that kicks the song into overdrive. Octave chords divert the track before the vocals kick in, soaring above the instruments, both pained and passionate at the same time. It’s edgy, cool and quintessentially British, drawing a lot of instant comparison to another three-piece, Scottish band Biffy Clyro. It may just be the dynamic between the three musicians that give Hello Lazarus that instantly familiar sound, but it’s also because they clearly have a knack for writing a fantastic tune. Intricate layers sway the track, steadying when recognisable hooks are revisited. The song falls into an inconspicuous mode at times, but soon returns to the fist pumping vehemence that makes it so enjoyable. Vocal harmonies build before one final tear through the math-rock main riff brings things to a snappy end.

‘X Marks’, the first single released from the EP, begins with warm, melodic notes before switching to uplifting strummed guitars. A verse falls in, with sturdy bass, picked melodies and playful drums, the nautical themed lyrics sung with pluck and prestige. There is a brief pause before a big chorus, which increases the effect of the sing-along values. This is a real ‘heart on your sleeve’ number, which such earnest lyrics as ‘where do we go from here?’ The changes in pace are executed perfectly, proof that Hello Lazarus have the talent to make a memorable and effectual song, which is an important ingredient for mainstream success. 

Minimalist guitars begin another relaxed track, sounding more like bands from around the world rather than definitive Brits (The Gaslight Anthem, The Temper Trap). A driving bass line, pounding drums and sincere vocals push the song along, diving into new territories and constantly surprising with the direction taken. It’s another visionary love song, the well-written lyrics evoking beautiful imagery with such lines as ‘all I wanted was to breathe your air’. The finale of the song has a repeated guitar scale over pulsating and quickening beats, which is an exciting end to a proficient track.

‘Ride & Seek’ returns to the high tempo of the EP’s beginning, again making use of quiet verses to increase the impact of the louder parts of the song. The chorus here is huge, seeming so much louder than the rest of the song but never feeling too much. It’s a ‘festival friendly’ track, as is the rest of the EP, spanning a wide range of genres to widen the band’s appeal.

This self-titled release from Hello Lazarus is a generous group of songs that keeps giving upon repeated listens. The band undoubtedly deserves their newfound success and can back up the competence of their recordings with a fantastically energetic and tight live show.

They will begin their nationwide tour on the 30^th of March with an EP launch show at Bristol venue The Louisiana, which I definitely recommend as a great local show to attend. Not in Bristol? They’ll be everywhere from the likes of Leeds to London, so be sure to check them out!

Album Review - Every Time I Die : Ex Lives (2012)

Buffalo hardcore mob ‘Every Time I Die’ have returned from the wilderness to release their sixth studio album ‘Ex Lives’, and after 3 years away it’s safe to say that the band haven’t lost their energy, edge or song writing prowess (not that anybody ever thought they would). This album threatens to be the ‘definitive’ ETID experience, packing every ounce of visceral power into a short burst of songs and paying homage to their best work from a back catalogue that boasts the likes of ‘Gutter Phenomenon’ and the most recent ‘New Junk Aesthetic’.

Vocalist Keith Buckley has put a lot of effort into his side project ‘The Damned Things’ (a ‘supergroup’ of sorts alongside former ETID bassist Josh Newton, Scott Ian and Rob Caggiano of ‘Anthrax’, and Joe Trohman and Andy Hurley of ‘Fall Out Boy’) so for a new ETID album to hit with such venom as this is really satisfying for fans of the band and the modern metalcore scene in general. There is quite simply no other band like this in the current climate, so it is great to see that 14 years down the line ETID partying like they always have and kicking out the brutal jams like they’re going out of fashion (which trust me, they aren’t).

‘Ex Lives’ opens with the outrageously titled ‘Underwater Bimbos From Outer Space’, which is everything as bonkers as it sounds. Distorted howls of ‘I want to be dead with my friends’ bring in a deafening slab of hardcore punk, delivered beautifully with fiendish lyrics and a shit-storm of guitars. The tornado of Buckley’s furiously spat vocals comes straight from the depths of an insane asylum; dirty licks accompany a duality of screamed/clean vocals on the chorus. Riff after riff bludgeons the ears and vulgar distortion presents a lengthy breakdown during the final third of the track. ‘Holy Book of Dilemma’ takes off at impossible speeds, the ETID Southern grooves evident from the get go. The drums on this track could drown out thunder, Buckley’s roars constantly battling to get the better of the beats. The song is a jagged jigsaw puzzle but the pieces fit together seamlessly, often to the awe of the listener. The instruments fade away as the song ends, leaving the vocals bellowing alone.

‘A Wild, Shameless Plain’ opens with standard grungy chords, the guitars grinding over slower beats. The aggression bubbles beneath the surface, always there as it is with ETID songs, but masked beneath a ‘party time’ sound which makes it sometimes hard to pick out. Buckley rants with perfect poetry, the subject matter of his lyrics appearing to be darker than previously noticed (exploring karma, past mistakes, resentment). The song is a short, sharp kick in the teeth. ‘Typical Miracle’ has the classic ETID bravado – funky metal jams drenched in whiskey. Their definitive sound is played with as the album begins to shape into a beast of its own instead of just some songs forced together.

‘I Suck (Blood)’ rumbles along with hardcore sounds, the new drummer Ryan Leger bringing a fresh chaos to the proceedings. The brutal tones in this track will no doubt give a nosebleed to anybody willing to listen to the entire track (luckily I came armed with cotton wool). ‘Partying Is Such Sweet Sorrow’ starts with a fantastic banjo solo (yes, you read that right) that sets the scene for a sinister song that is a whirlwind of style drenched in gasoline and set alight. There is a heavy harmony with a satanic edge (especially with the lyrics), which seems to suggest a booze fuelled bar fight with the Devil himself. ‘The Low Road Has No Exits’ is unapologetic and certainly one of the most ferocious tracks on the record. It’s a great headbanger and rarely lets up, channelling seething rage in a way that only ETID know how to.

‘Revival Mode’ explores an avenue that is not only rare for the songs on this album, but probably anything the band has done to date. A melodic slow jam paired with some clean vocals from Buckley, the tempo taking a downward turn but always feeling like a positive change. It feels genuine and enjoyable, showing a different side to a band a huge amount of people have come to know and love. There’s a great emphasis on the purity of the lyrics, possibly because the words can be heard clearer than ever. ‘Drag King’ returns to the heavy grind, and this is really one of the album highlights. A perfectly paced big and heavy track, dirty low guitars drudge along, occasionally hitting riffing heights to accentuate the old school ETID party ethic. It ascends to the swagger that many songs on last album ‘New Junk Aesthetic’ had yet still has a foreboding edge.

‘Touch Yourself’ is an accomplished song from a band that is clearly pushing the metalcore genre further and further. The track moves at 100mph, the sharp lyrics paired with slack-jawed yelps showing that despite the band’s professionalism they still don’t take themselves too seriously. The lyrics are heartfelt and desperate (‘What does he have that I don’t? Except you), and it’s a side to Buckley’s song writing that should be shown off more often. Album closer ‘Indian Giver’ introduces low-tuned stoner guitars, playing with the industrial rock sound of ‘Tool’ and ‘Nine Inch Nails’. It rounds off the ‘pissed off and ready to shout about it’ rebellion of ‘Ex Lives’, and it a fantastic end to a truly mind-blowing album.

ETID craft an intricate ‘take-no-prisoners- sound that has no rival. They are quite possibly the best metalcore band of all time, not just today. ‘Ex Lives’ is big, brash and bold, and if you are a fan of metal, punk, rock or any guitar music, you really need to get yourself a copy of this album. It is utterly astounding and will leave you breathless and reaching to pick your jaw up from the floor.

Blinded by Faith - An Introduction

For a while now I've been interested in getting a Creative Media/Design project off the ground, and now it would appear that 2012 is the year to do that. I want to combine my passion for music focused artwork with my experience as a graphic designer to provide a service for bands/musicians to help sell their music as a 'brand' with the help of promotional/print/logo design. Since ideas have been materialising I have managed to surround myself with a team that will help 'Blinded by Faith' truly get off the ground. This has included the addition of two illustrators and one photographer, so that Tattoo Design and Photography will also make up a part of the Creative Media service.

The 'Blinded by Faith' team as of March 2012 is:

Ben Errington - Creative Director / Graphic Designer
Craig Rudman - Graphic Designer
Kevin Brilliant - Illustrator
Danielle Stuckes - Illustrator
Jason Sweet - Photographer

Here is the official description of 'Blinded by Faith':

Bristol based Creative Design & Media company specialising in Promotional, Print, Logo and Tattoo Design as well as Photography (with future aspirations to include Web Design & Video). We focus our efforts in the Music Industry but will tackle any Creative Project and deliver professional results.

Here are some logos for 'Blinded by Faith'

Here is the portfolio of work to date, including everything we have done specifically for the BBF brand and for clients who have requested design work.

Portfolio

Promotional Design

Print Design

Logo Design

Tattoo Design

Please check us out on Facebook - www.facebook.com/blindedbyfaithdesign

Or follow us on Twitter @blindedby_faith